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| played trumpet, known for jungle sounds |
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| bassist, worked with Bill Evans Trio |
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| What doesn’t belong in bebop? |
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| The preferred instrumentation for bebop was: |
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| I Got Rhythm was written by: |
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| What is the common format of a band in the swing period? |
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| 5 saxophones, 3-4 trumpets, 3-4 trombones, piano, bass, guitar, and drums |
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| Lester Young influenced who? |
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| Count Basie, saxophonists |
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| What is the order of the “Big 6”? |
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| 1) Louis Armstrong 2) Duke Ellington 3) Charlie Parker 4) Miles Davis 5) John Coltrane 6) Bill Evans |
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| What was the problem with jazz waltz? |
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| Problem with jazz waltz is ¾ time which was hard to get to get to swing first. |
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| Miles Davis took music in the 60's funk and fusion with what record album? |
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| Who was the King of Swing? |
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| Standard group of a hard bop was a ________. It consisted of what instruments? |
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| Quintet~ (1) Piano (2) Bass (3) Drums (4) Trumpet (5) Tenor Saxophone |
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| Miles Davis used what instrument device. |
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| What direction does the music go in counterpoint? |
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| What is the lengthening or widening of rhythms? |
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| “Music should make you wanna dance, sing or pray.” Who says this? |
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| When units of poetry don't coincide with the verse is __________. |
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| What does the instrumentation of Swing consisits of? |
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| 5 saxophones, 3-4 trumpets, 3-4 trombones, piano, bass, guitar, and drums. |
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| A feeling. 12 bars, 3 sections of 4 bars each. |
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| Form of many standard tunes. 32 bars long, 4 sections of 8 bars each. Includes a bridge. |
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| Notes that lend color to the sound of a chord or scale. |
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| T/F: Herbie Handcock was committed to playing true jazz? |
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| T/F: Ron Carter is a well known bassist? |
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| changing density of the chords per minute... |
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| changes the harmonic rhythm |
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| At the end of the 1960’s Miles Davis moved his music to? |
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| Miles Davis and his nonet used what unusual instrumentation? |
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| Ornette Coleman invented a concept called? |
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| Birdland was performed by? |
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| Who plays piano and sings way behind the beat? |
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| This sax player used “scooping” of the pitch as expressive gestures? |
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| Who played “Lord, what fool these mortals be”? |
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| Duke Ellington used this vocalist in Come Sunday? |
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| The word funk comes from? |
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| Ellington’s film score was: |
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| bass player with weather report, think Charlie Pace |
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| the relationship between two or more voices that are independent in contour and rhythm, and interdependent in harmony. |
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| group known for adding rock elements to jazz |
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| important names associated with Weather Report |
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| Joe Zawinul, Miroslav Vitous |
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| characteristics of Weather Report |
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| used collective improvisation, emancipation of traditional roles in the rhythm section, little distinction between soloist and accompanist. |
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| Chet Baker/Gerry Mulligan |
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1910-1953
Belgian gypsy guitarist
1928 - Lost 2 fingers in a fire. Compensated with a new technique.
Un-amplified – unlike Charlie Christian
Quintette du Hot Club de France
First outstanding European Jazz Musician |
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Drummer and leader of the Jazz Messengers
Epitomized the loosening of jazz drumming styles.
Used loud intrusions as accompanimental figures. |
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| American jazz saxophonist, important name in Latin Jazz, helped develop the bossa nova structure |
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1909-1956
Severely limited vision
Amazing Technique & velocity at piano
Reharmonization
Willow Weep for Me
Tiger Rag |
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Tenor & Soprano Sax
After Charlie Parker, the most widely imitated saxophonist in Jazz.
Came to fame in 1955 with the Miles Davis quintet.
Worked with Monk in 1957, an important period.
Addiction to drugs/alcohol disrupted his career. |
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Worked with Sonny Rollins (Sax) and Max Roach (Drums)
Long fluid lines, reminiscent of bebop.
Died in auto accident at age 25. |
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| worked with Clifford Brown extensively |
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Admired as a composer, not as a pianist.
Worked with Paul Desmond (Alto sax).
Mastery of “odd” meters. incorporated classical European elements into his music |
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Headhunters
1973
Watermelon Man (2 versions)
Chameleon
Wanted to hire not jazz musicians who could play funk but to hire funk musicians who could play jazz.
Very electronic, lots of studio production and overdubs.
Platinum selling album. |
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Unorthodox composer, his work seriously challenged improvisers.
Able to play as if he could “bend” notes.
Used melodic, cell development. (Straight, No Chaser)
Minimum amount of material.
Called “High Priest of Bop” |
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| Main composer of Latin Jazz |
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Ellington’s “alter ego”
Co-wrote much of the music during this period
Liked to compose is “dark” keys
Wrote Take the A Train, Lush Life (age 18), and collaborated on the suites
Flourished in Ellington’s shadow
It was difficult to discern where one's style ended and the other's began. |
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One of the biggest names in jazz in 70s and 80s.
Guitarist, he worked with pianist Lyle Mays.
Spacious and open sounds.
Some of his music falls into the “new age” category. |
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| Neo-traditional championed by |
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| Wynton Marsalis (preservationists) |
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| Postmodernism championed by |
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| John Zorn (freedom fighters) |
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| composed Thesaurus of Musical Scales |
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| Bill Evans was high influenced by |
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| French impressionist Maurice Ravel |
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| vocalist with unique vibrato |
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| Lester Young influenced who? |
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| saxophonists of West Coast jazz |
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| Blue Rondo Ala Turk, Dave Brubeck |
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| coined the term "harmolodic" |
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| simultaneous soundings of a single melodic line, in different tonalities, pitches, or keys. |
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| Differences between Brazilian and Afro Cuban styles of Latin Music |
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ALL Cuban music fits inside a clave rhythm
All Cuban music descends from something significantly religious
More 'high octane'
Brazilian music melded into jazz and changed, but Afro-Cuban music was lifted straight from its culture and changed very little until the 1980's. |
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| Differences between Brazilian and Afro Cuban styles of Latin Music |
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Definition
ALL Cuban music fits inside a clave rhythm
All Cuban music descends from something significantly religious
More 'high octane'
Brazilian music melded into jazz and changed, but Afro-Cuban music was lifted straight from its culture and changed very little until the 1980's. |
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| used equal contribution style |
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| Bill Evans trio with bassist Scott LaFarro & drummer Paul Motian |
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Usually thought of as a piano genre. Does not swing.
It has an even division of the beat, and comes from the military march form.
AABBACCDD |
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| Miles Davis' first quintet |
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Paul Chambers
Wynton Kelly
Bill Evans
Jimmy Cobb
John Coltrane
Cannonball Adderley |
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| Miles Davis' second quintet |
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Miles
Wayne Shorter (Saxophone)
Herbie Hancock (Piano)
Tony Williams (Drums)
Ron Carter (Bass) |
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Early Jazz
Swing
Bebop
Cool Jazz (West Coast)
Hard Bop
Post Bop
Free Jazz |
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| developments of swing era |
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Arranging became important.
Big Band became the standard group.
Consolidation of the rhythm section to piano, bass, drums, and perhaps guitar, tuba and banjo died out.
Consolidation of the drum set to that as we know it today – Bass drum, snare, hi-hat, tom-tom and cymbals. |
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| played on all four beats; emphasis on each beat equally |
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| proponent of Kansas City Style Swing |
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| one of the most influential saxophonists; played with a light, airy sound |
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| musical characteristics of Duke Ellington |
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Emphasized the personal sounds of his players.
Took the idiom of jazz into the format of “extended works”.
Voiced across sections of the band.
Often wrote more than one version of a particular tune.
He transcended the chorus bound limitations of arranging. |
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| had a historically important engagement at the Cotton Club |
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| the ratio of the short half to the long half is equal to the ratio of the long half to the whole |
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| Common format (instrumentation) of swing period group |
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| 5 saxophones, 3-4 trumpets, 3-4 trombones, piano, bass, guitar, and drums |
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| another definition of smooth jazz |
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| Sheets of Sound – what is it and who used this technique? |
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| John Coltrane, eighth note progressions |
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Name comes from the sound of the music.
Dominated by the saxophone.
Musicians tried to rise from entertainer to artist.
Many compositions were written over the changes of other popular tunes. |
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| Ornette Coleman instrument |
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| Cootie Williams instrument |
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| Jaco Pastorious instrument |
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| Django Reinhardt instrument |
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| Clifford Brown instrument |
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| Herbie Hancock instrument |
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| Thelonious Monk instrument |
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| Charlie Christian instrument |
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| Billy Strayhorn instrument |
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| Duke Ellington instrument |
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| Wynton Marsalis instrument |
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| stylistic aspects of bebop |
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Bop improvisation was more complex
Melodic chromaticism
Harmonies were more complex in bop
(Much more chromatic)
Comping was more prevalent than stride style and simple, on-the-beat chording
Surprise was more highly valued in bop.
Bop was a more agitated style than swing. |
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